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Metonymy, Metre, Negative Capability

Metonymy:
The name of one thing is used for another thing to which it is related. We use metonymy when we use "the crown" for the king or "the stage" for theatre. Similarly, when we use "Shakespeare" to mean his works we use metonymy. Some other examples are given below:
 
"Rest, rest perturbed spirit:"
 (Shakespeare: Hamlet, Act I, Scene V)

"Look on my works, ye Mighty, and despair!"
(Shelley: "Ozymandias")

This is my son, mine own Telemachus,
To whom I leave the sceptre and the isle—
(Tennyson: "Ulysses")

In the first example, "spirit" has been used for ghost; in the second example, "Mighty" has been used for a powerful king; and in the third example the "sceptre" has been used for kingship or the authority to rule.


Metre:
The arrangement of "feet" [i.e. stressed and unstressed syllables] in a verse line. A verse line is named according to the number of its foot:
A line containing one foot is called monometer.
A line containing two feet is called diameter. 
A line containing three feet is called trimeter. 
A line containing four feet is called tetrameter. 
A line containing five feet is called pentameter. 
A line containing six feet is called hexameter. 
A line containing seven feet is called heptameter. 
A line containing eight feet is called octameter.

Each of these meters may again be different according to the use of various types of feet. A monometer line may be iambic monometer ("Thus  I/ Pass  by"), trochaic monometer ("Turning/ Burning/ Changing/ Ranging"), Anapaestic monometer ("'Tis in vain/ They complain"), dactylic monometer ("Wit with this/ wantonness") and so on. Similarly, a diameter may be iambic diameter, trochaic diameter, anapaestic diameter, dactylic diameter etc. A pentameter may  be  iambic  pentameter,  trochaic  pentameter,  anapaestic pentameter, dactylic pentameter and the like.

Motif: "One of the dominant ideas in a work of literature."


Negative Capability:
An ability that enables a writer to keep himself aloof from his writings. It is synonymous with objectivity. Keats who coined this phrase defines it as an ability which makes a writer "capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason." Shakespeare had this ability because his personal life cannot be discovered from his plays. Keats claimed that he also had this ability. T. S. Eliot called it impersonality of art.

Related Posts:

  • AnapaestA metrical foot comprising three syllables of which the first two are unstressed and the third is stressed. Examples:Like a child / from the womb, / lâ€Ļ Read More
  • Didactic, Dramatic Irony Didactic:A kind of writings intended to teach or instruct. Aesop's Fables, Alexander Pope's Essay on Criticism, John Bunyan's Pilgrim's Progress, are â€Ļ Read More
  • AnaphoraRepetition of a word or phrase at the beginnings of two or more successive verse lines, clauses, or sentences. Examples:So long as men can breathe, orâ€Ļ Read More
  • AlliterationRepetition of a consonant at the beginning of two or more words or stressed syllables. Notice the following examples:"Puffs, powders, patches, Bibles,â€Ļ Read More
  • Epic Simile, Epigram, Epiphany, Episode Epic Simile:An open comparison between two dissimilar objects of which one is fairly elaborated. It is called epic simile because the epic poets introâ€Ļ Read More
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https://english-grammarblog.blogspot.com/2020/08/effective-sentence.html
https://english-grammarblog.blogspot.com/2022/03/all-about-completing-sentences.html
https://english-grammarblog.blogspot.com/2020/12/rules-of-changing-voice-active-to-passive.html
https://www.google.com/search?q=site%3Aenglish-grammarblog.blogspot.com
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https://t.me/englishgrammarblog

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#āĻ“āĻ¸āĻŽāĻžāĻ¨āĻŋ #āĻ†āĻ¤ā§āĻŽāĻ¸āĻŽāĻ°ā§āĻĒāĻŖ āĻ…āĻ¨ā§āĻˇā§āĻ āĻžāĻ¨ #āĻŽāĻŋāĻļāĻ° #Egypt ā§§. āĻŦāĻžāĻ‚āĻ˛āĻž āĻ­āĻžāĻˇāĻž āĻ“ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ ā§§. āĻšā§āĻ¯āĻžāĻ¨ā§āĻĄāĻ¨ā§‹āĻŸ āĻāĻŦāĻ‚ āĻ¤āĻĨā§āĻ¯āĻŦāĻšā§āĻ˛ āĻšāĻŋāĻ¤ā§āĻ° ā§§ā§Ļ. āĻ¨ā§ˆāĻ¤āĻŋāĻ•āĻ¤āĻž āĻŽā§‚āĻ˛ā§āĻ¯āĻŦā§‹āĻ§ āĻ“ āĻ¸ā§āĻļāĻžāĻ¸āĻ¨ ā§§ā§§. āĻŦāĻŋāĻ­āĻŋāĻ¨ā§āĻ¨ āĻĒāĻ°ā§€āĻ•ā§āĻˇāĻžāĻ° āĻĒā§āĻ°āĻļā§āĻ¨ āĻ“ āĻ¸āĻŽāĻžāĻ§āĻžāĻ¨ ā§¨. āĻ‡āĻ‚āĻ°ā§‡āĻœāĻŋ āĻ­āĻžāĻˇāĻž āĻ“ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ ā§Š. āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻŦāĻŋāĻˇāĻ¯āĻŧāĻžāĻŦāĻ˛āĻŋ ā§Ē. āĻ†āĻ¨ā§āĻ¤āĻ°ā§āĻœāĻžāĻ¤āĻŋāĻ• āĻŦāĻŋāĻˇāĻ¯āĻŧāĻžāĻŦāĻ˛āĻŋ ā§Ēā§Ļā§ĻāĻŸāĻŋ āĻĒā§āĻ°āĻļā§āĻ¨ā§‹āĻ¤ā§āĻ¤āĻ°: āĻ•āĻŽā§āĻĒāĻŋāĻ‰āĻŸāĻžāĻ° āĻāĻŦāĻ‚ āĻ•āĻŽā§āĻĒāĻŋāĻ‰āĻŸāĻžāĻ°-āĻĒā§āĻ°āĻ¯ā§āĻ•ā§āĻ¤āĻŋ 43rd BCS ā§Ģ. āĻ­āĻžāĻ‡āĻ­āĻž āĻŦā§‹āĻ°ā§āĻĄ ā§Ģ. āĻ­ā§‚āĻ—ā§‹āĻ˛ (āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻ“ āĻŦāĻŋāĻļā§āĻŦ) āĻĒāĻ°āĻŋāĻŦā§‡āĻļ āĻ“ āĻĻā§āĻ°ā§āĻ¯ā§‹āĻ— āĻŦā§āĻ¯āĻŦāĻ¸ā§āĻĨāĻžāĻĒāĻ¨āĻž ā§Ģā§¨ āĻĨā§‡āĻ•ā§‡ ā§­ā§§ ā§Ŧ. āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻŦāĻŋāĻœā§āĻžāĻžāĻ¨ ā§­ āĻŽāĻžāĻ°ā§āĻš ā§­. āĻ•āĻŽā§āĻĒāĻŋāĻ‰āĻŸāĻžāĻ° āĻ“ āĻ¤āĻĨā§āĻ¯āĻĒā§āĻ°āĻ¯ā§āĻ•ā§āĻ¤āĻŋ ā§Ž. āĻ—āĻžāĻŖāĻŋāĻ¤āĻŋāĻ• āĻ¯ā§āĻ•ā§āĻ¤āĻŋ ā§¯. āĻŽāĻžāĻ¨āĻ¸āĻŋāĻ• āĻĻāĻ•ā§āĻˇāĻ¤āĻž āĻ…āĻ¨ā§āĻĒā§āĻ°ā§‡āĻ°āĻŖāĻž āĻ…āĻ¨ā§āĻĒā§āĻ°ā§‡āĻ°āĻŖāĻž - Motivation āĻ†āĻ‡āĻ¨āĻ•āĻžāĻ¨ā§āĻ¨ āĻ†āĻ¨ā§āĻ¤āĻ°ā§āĻœāĻžāĻ¤āĻŋāĻ• āĻ†āĻ¨ā§āĻ¤āĻ°ā§āĻœāĻžāĻ¤āĻŋāĻ• āĻšā§āĻ•ā§āĻ¤āĻŋ āĻ†āĻ¨ā§āĻ¤āĻ°ā§āĻœāĻžāĻ¤āĻŋāĻ• āĻŦāĻŋāĻˇā§Ÿ: āĻ¸ā§€āĻŽāĻžāĻ°ā§‡āĻ–āĻž āĻ†āĻ¨ā§āĻ¤āĻ°ā§āĻœāĻžāĻ¤āĻŋāĻ• āĻ¸ā§€āĻŽāĻžāĻ°ā§‡āĻ–āĻž āĻ†āĻĒāĻĄā§‡āĻŸ āĻ†āĻĒāĻĄā§‡āĻŸ āĻ¤āĻĨā§āĻ¯ āĻ†āĻŦāĻŋāĻˇā§āĻ•āĻžāĻ° āĻ“ āĻ†āĻŦāĻŋāĻˇā§āĻ•āĻžāĻ°āĻ• āĻ†āĻ˛ā§‹āĻšāĻŋāĻ¤ ā§§ā§§ āĻœāĻ¨ āĻ•āĻŦāĻŋ-āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻŋāĻ• āĻ“ āĻ¤āĻžāĻāĻĻā§‡āĻ° āĻ°āĻšāĻ¨āĻžāĻŦāĻ˛ā§€ āĻ‡āĻ‚āĻ°ā§‡āĻœāĻŋ āĻ‡āĻ‚āĻ°ā§‡āĻœāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻ‰āĻĒāĻžāĻ§āĻŋ āĻ“ āĻ›āĻĻā§āĻŽāĻ¨āĻžāĻŽ āĻāĻŸāĻ°ā§āĻ¨āĻŋ āĻœā§‡āĻ¨āĻžāĻ°ā§‡āĻ˛ āĻāĻŦāĻžāĻ° āĻ¯āĻžāĻĻā§‡āĻ° āĻĒā§āĻ°āĻĨāĻŽ āĻŦāĻŋāĻ¸āĻŋāĻāĻ¸ āĻ•āĻŽā§āĻĒāĻŋāĻ‰āĻŸāĻžāĻ° āĻ•āĻŽā§āĻĒāĻŋāĻ‰āĻŸāĻžāĻ° āĻ“ āĻ¤āĻĨā§āĻ¯ āĻĒā§āĻ°āĻ¯ā§āĻ•ā§āĻ¤āĻŋ āĻ—āĻŖāĻŋāĻ¤ āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻĒā§āĻ°āĻļā§āĻ¨ āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻŦā§ˆāĻœā§āĻžāĻžāĻ¨āĻŋāĻ• āĻ¨āĻžāĻŽ āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻļāĻŦā§āĻĻ āĻĒāĻ°āĻŋāĻšāĻŋāĻ¤āĻŋ āĻšāĻ°ā§āĻ¯āĻžāĻĒāĻĻ āĻšāĻ°ā§āĻ¯āĻžāĻĒāĻĻā§‡āĻ° āĻ•āĻŦāĻŋāĻ—āĻŖ āĻœāĻžāĻ¤ā§€āĻ¯āĻŧ āĻœā§āĻžāĻžāĻ¨-āĻŦāĻŋāĻœā§āĻžāĻžāĻ¨ā§‡āĻ° āĻļāĻžāĻ–āĻž āĻāĻŦāĻ‚ āĻœāĻ¨āĻ• āĻœā§āĻ¯āĻžāĻŽāĻŋāĻ¤āĻŋāĻ• āĻ¸ā§‚āĻ¤ā§āĻ° āĻĻā§‡āĻļā§€ āĻŦāĻŋāĻœā§āĻžāĻžāĻ¨ā§€āĻ°āĻž āĻ¨āĻĻ-āĻ¨āĻĻā§€ āĻ¨āĻŦāĻŽ-āĻĻāĻļāĻŽ āĻļā§āĻ°ā§‡āĻŖāĻŋāĻ° āĻŦāĻžāĻ‚āĻ˛āĻž āĻŦā§āĻ¯āĻžāĻ•āĻ°āĻŖ āĻĒāĻ¤ā§āĻ°āĻŋāĻ•āĻž āĻāĻŦāĻ‚ āĻ›āĻĻā§āĻŽāĻ¨āĻžāĻŽ āĻĒāĻĻ āĻĒā§āĻ°āĻ•āĻ°āĻŖ āĻĒāĻ°āĻ°āĻžāĻˇā§āĻŸā§āĻ°āĻ¨ā§€āĻ¤āĻŋ āĻĒāĻ°āĻžāĻŽāĻ°ā§āĻļ āĻĒāĻ°āĻžāĻŽāĻ°ā§āĻļ V. V. V. I. āĻĒāĻ°āĻŋāĻŦā§‡āĻļ āĻ“ āĻĻā§āĻ°ā§āĻ¯ā§‹āĻ— āĻŦā§āĻ¯āĻŦāĻ¸ā§āĻĨāĻžāĻĒāĻ¨āĻž āĻĒāĻ°āĻŋāĻŽāĻŋāĻ¤āĻŋāĻ° (Mensuration) āĻ¸ā§‚āĻ¤ā§āĻ°āĻžāĻŦāĻ˛āĻŋāĻ¸āĻŽā§‚āĻš āĻĒāĻžāĻāĻšāĻŽāĻŋāĻļāĻžāĻ˛ā§€ āĻ¤āĻĨā§āĻ¯ + āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻœā§āĻžāĻžāĻ¨ āĻĒāĻžāĻ°āĻŋāĻ­āĻžāĻˇāĻŋāĻ• āĻļāĻŦā§āĻĻ āĻĒā§āĻ°āĻžāĻ¤āĻ¨ āĻ“ āĻ¨āĻ¤ā§āĻ¨ āĻ¨āĻžāĻŽ āĻĒā§āĻ°āĻ¤āĻŋāĻļāĻŦā§āĻĻ āĻĒā§āĻ°āĻĨāĻŽ āĻĒā§āĻ°āĻ•āĻžāĻļāĻŋāĻ¤ āĻĒā§āĻ°āĻ¸ā§āĻ¤ā§āĻ¤āĻŋāĻšā§€āĻ¨ āĻŦāĻŋāĻ¸āĻŋāĻāĻ¸ āĻ¯āĻžāĻ¤ā§āĻ°āĻž āĻĢāĻ˛āĻž āĻāĻŦāĻ‚ āĻ¯ā§āĻ•ā§āĻ¤āĻžāĻ•ā§āĻˇāĻ° āĻĢāĻžāĻāĻĻ āĻĒā§āĻ°āĻļā§āĻ¨ āĻĢāĻŋāĻ˛āĻŋāĻ¸ā§āĻ¤āĻŋāĻ¨ Palestine āĻĢā§āĻ°āĻžāĻ¨ā§āĻ¸ā§‡āĻ° āĻ‡āĻ¸āĻ˛āĻžāĻŽ-āĻŦāĻŋāĻĻā§āĻŦā§‡āĻˇ āĻŦāĻ™ā§āĻ—āĻŦāĻ¨ā§āĻ§ā§ āĻ¸ā§āĻ¯āĻžāĻŸā§‡āĻ˛āĻžāĻ‡āĻŸ āĻŦāĻžāĻ‚āĻ˛āĻž āĻŦāĻžāĻ‚āĻ˛āĻž āĻ“ āĻ‡āĻ‚āĻ°ā§‡āĻœāĻŋ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§‡āĻ° āĻŽāĻŋāĻ˛āĻŦāĻ¨ā§āĻ§āĻ¨ āĻŦāĻžāĻ‚āĻ˛āĻž āĻŦā§āĻ¯āĻžāĻ•āĻ°āĻŖ āĻŦāĻžāĻ‚āĻ˛āĻž āĻ­āĻžāĻˇāĻž āĻ“ āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻŦāĻžāĻ‚āĻ˛āĻž āĻļāĻŦā§āĻĻāĻžāĻ°ā§āĻĨ āĻŦāĻžāĻ‚āĻ˛āĻž āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ āĻŦāĻžāĻ‚āĻ˛āĻž āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§‡āĻ° āĻĻā§āĻ‡ āĻŽāĻšāĻžāĻ°āĻĨā§€ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻ“ āĻŦāĻŋāĻļā§āĻŦāĻĒāĻ°āĻŋāĻšāĻ¯āĻŧ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻŦāĻŋāĻˇāĻ¯āĻŧāĻžāĻŦāĻ˛āĻŋ āĻŦāĻžāĻ—āĻ§āĻžāĻ°āĻž āĻŦāĻžāĻ¨āĻžāĻ¨ āĻļā§āĻĻā§āĻ§āĻŋāĻ•āĻ°āĻŖ āĻŦāĻŋāĻ—āĻ¤ āĻĒāĻ°ā§€āĻ•ā§āĻˇāĻžāĻ¸āĻŽā§‚āĻš āĻŦāĻŋāĻĒā§āĻ˛āĻŦ āĻŦāĻŋāĻ­āĻ•ā§āĻ¤āĻŋ āĻŦāĻŋāĻ¸āĻŋāĻāĻ¸ āĻĒāĻ°āĻžāĻŽāĻ°ā§āĻļ āĻŦāĻŋāĻ¸āĻŋāĻāĻ¸ āĻ­āĻžāĻ‡āĻ­āĻž āĻĒā§āĻ°āĻ¸ā§āĻ¤ā§āĻ¤āĻŋ āĻŦā§āĻĻā§āĻ§āĻŋāĻœā§€āĻŦā§€ āĻšāĻ¤ā§āĻ¯āĻžāĻ•āĻžāĻŖā§āĻĄ āĻ­āĻžāĻˇāĻž āĻ†āĻ¨ā§āĻĻā§‹āĻ˛āĻ¨ āĻ­ā§‚āĻ—ā§‹āĻ˛ āĻ­ā§ŒāĻ—ā§‹āĻ˛āĻŋāĻ• āĻ‰āĻĒāĻ¨āĻžāĻŽ āĻ­ā§āĻ¯āĻžāĻ•āĻ¸āĻŋāĻ¨ āĻ•ā§‚āĻŸāĻ¨ā§€āĻ¤āĻŋ āĻāĻŦāĻ‚ āĻŦāĻžāĻ‚āĻ˛āĻžāĻĻā§‡āĻļ āĻŽāĻĄā§‡āĻ˛ āĻŸā§‡āĻ¸ā§āĻŸ āĻŽāĻĄā§‡āĻ˛āĻŸā§‡āĻ¸ā§āĻŸ āĻŽāĻšāĻžāĻ•āĻžāĻļ āĻŽā§āĻ•ā§āĻ¤āĻŋāĻ¯ā§āĻĻā§āĻ§ āĻŽā§āĻ•ā§āĻ¤āĻŋāĻ¯ā§āĻĻā§āĻ§ āĻ­āĻŋāĻ¤ā§āĻ¤āĻŋāĻ• āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻ•āĻ°ā§āĻŽ āĻŽā§āĻ•ā§āĻ¤āĻŋāĻ¯ā§āĻĻā§āĻ§ā§‡āĻ° āĻŦā§€āĻ°āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ āĻ–ā§‡āĻ¤āĻžāĻŦ āĻŽā§āĻ•ā§āĻ¤āĻŋāĻ¯ā§āĻĻā§āĻ§ā§‡āĻ° āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻ­āĻžāĻŖā§āĻĄāĻžāĻ° āĻ¯ā§āĻ•ā§āĻ¤ āĻŦāĻ°ā§āĻŖ āĻ˛āĻŋāĻ–āĻŋāĻ¤ āĻ—āĻžāĻ‡āĻĄāĻ˛āĻžāĻ‡āĻ¨ āĻ˛āĻŋāĻ–āĻŋāĻ¤ āĻĒāĻ°ā§€āĻ•ā§āĻˇāĻž āĻ˛ā§‡āĻ–āĻž āĻ“ āĻ˛ā§‡āĻ–āĻ• āĻļā§‡āĻˇ āĻŽā§āĻšā§āĻ°ā§āĻ¤ā§‡āĻ° āĻĒā§āĻ°āĻ¸ā§āĻ¤ā§āĻ¤āĻŋ āĻ“ āĻĒāĻ°āĻžāĻŽāĻ°ā§āĻļ āĻļā§āĻ°ā§‡āĻˇā§āĻ  āĻŦāĻžāĻ™āĻžāĻ˛āĻŋ ✏ī¸âœī¸ āĻ¸āĻ‚āĻŦāĻŋāĻ§āĻžāĻ¨ āĻ¸āĻ‚āĻŦāĻŋāĻ§āĻžāĻ¨ āĻ¸āĻ‚āĻļā§‹āĻ§āĻ¨ā§€ āĻ¸āĻĻāĻ°-āĻĻāĻĒā§āĻ¤āĻ° āĻ¸āĻ­ā§āĻ¯āĻ¤āĻž āĻ¸āĻŽāĻžāĻ¸ āĻ¸āĻžāĻœā§‡āĻļāĻ¨ āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻœā§āĻžāĻžāĻ¨ āĻ¸āĻžāĻ§āĻžāĻ°āĻŖ āĻŦāĻŋāĻœā§āĻžāĻžāĻ¨ āĻ¸āĻžāĻŽā§āĻĒā§āĻ°āĻ¤āĻŋāĻ• āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯-āĻ‰ā§ŽāĻ¸āĻ°ā§āĻ— āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯āĻŋāĻ• āĻ¸āĻžāĻšāĻŋāĻ¤ā§āĻ¯ā§‡ āĻ•āĻ¨āĻĢāĻŋāĻ‰āĻļāĻ¨ āĻ¸ā§āĻĨāĻžāĻĒāĻ¤ā§āĻ¯ āĻ“ āĻ¸ā§āĻĨāĻĒāĻ¤āĻŋ āĻ¸ā§āĻĒā§‹āĻ•ā§‡āĻ¨ āĻ‡āĻ‚āĻ˛āĻŋāĻļ All Things Review Bangladesh Constitution BCS Preliminary Question Analysis BCS Preparation Special Episodes BCS Questions Earn Money Eat Chew Drink Take Have ? English Grammar English Grammar Exercises with Answers English Grammar Test English Literature Essay Writing General Science ICT Idioms and Phrases International financial institutions Love Stories in Literature Nobel Prize One Word Substitution Preposition Quiz Redundancy āĻŦāĻžāĻšā§āĻ˛ā§āĻ¯ (āĻĻā§‹āĻˇ) Shortcut to Preposition Spoken English Terrorism Transformation of Sentences 👍 Translation United Nations Vocabulary Warrant of Precedence World Wars

āĻāĻŸāĻŋ āĻŦāĻŋāĻ¸āĻŋāĻāĻ¸ āĻĒāĻ°ā§€āĻ•ā§āĻˇāĻžāĻ° āĻœāĻ¨ā§āĻ¯ āĻ…āĻ¨ā§‡āĻ• āĻ—ā§āĻ°ā§āĻ¤ā§āĻŦāĻĒā§‚āĻ°ā§āĻŖ:


Literary Terms 


1. Simile (āĻ‰āĻĒāĻŽāĻž):

āĻĻā§āĻŸāĻŋ āĻ†āĻ˛āĻžāĻĻāĻž āĻŦāĻ¸ā§āĻ¤ā§ āĻŦāĻž āĻĻā§āĻ‡āĻœāĻ¨ āĻŦā§āĻ¯āĻ•ā§āĻ¤āĻŋāĻ° āĻŽāĻ§ā§āĻ¯ā§‡ as, like, resemble, the same as āĻ‡āĻ¤ā§āĻ¯āĻžāĻĻāĻŋ āĻļāĻŦā§āĻĻāĻ—ā§āĻ˛āĻžā§‡āĻ° āĻ‰āĻ˛ā§āĻ˛ā§‡āĻ– āĻ•āĻ°ā§‡ āĻ¸āĻ°āĻžāĻ¸āĻ°āĻŋ āĻ¤ā§āĻ˛āĻ¨āĻž āĻ•āĻ°āĻžāĻ•ā§‡ simile āĻŦāĻ˛ā§‡āĨ¤ 

Example -

â€ĸ I wandered lonely as a cloud. 

â€ĸ Youth (is) like summer morn.

â€ĸ My heart is like a singing bird. 

â€ĸ He is as cunning as a fox. 


2. Metaphor (āĻ°ā§‚āĻĒāĻ•):

āĻĻā§āĻŸāĻŋ āĻ†āĻ˛āĻžāĻĻāĻž āĻŦāĻ¸ā§āĻ¤ā§ āĻŦāĻž āĻĻā§āĻ‡āĻœāĻ¨ āĻŦā§āĻ¯āĻ•ā§āĻ¤āĻŋāĻ° āĻŽāĻ§ā§āĻ¯ā§‡ comparision āĻāĻ° āĻļāĻŦā§āĻĻāĻ¸āĻŽā§‚āĻš (āĻ¯ā§‡āĻŽāĻ¨: as, such, like āĻ‡āĻ¤ā§āĻ¯āĻžāĻĻāĻŋ) āĻŦā§āĻ¯āĻŦāĻšāĻžāĻ° āĻ¨āĻž āĻ•āĻ°ā§‡āĻ‡ āĻ¤ā§āĻ˛āĻ¨āĻž āĻ•āĻ°āĻžāĻ•ā§‡ metaphor āĻŦāĻ˛ā§‡āĨ¤ 

Example -

â€ĸ Liza is a rose.

â€ĸ Life is but a walking shadow. 

â€ĸ Nazrul is fire.

â€ĸ My brother was boiling mad. 


Note: āĻāĻ•āĻ‡ āĻœāĻžāĻ¤ā§€āĻ¯āĻŧ āĻŦāĻŋāĻˇāĻ¯āĻŧāĻŦāĻ¸ā§āĻ¤ā§āĻ° āĻŽāĻ§ā§āĻ¯ā§‡ āĻ¤ā§āĻ˛āĻ¨āĻž āĻšāĻ˛ā§‡ ......... Read More 


📓 āĻĒā§āĻ°ā§‹ āĻ†āĻ°ā§āĻŸāĻŋāĻ•ā§‡āĻ˛/āĻĒā§‹āĻ¸ā§āĻŸāĻŸāĻŋ āĻĒāĻĄāĻŧā§āĻ¨